can identity ( as this subject relates to the subject of individual and group dress style) can be viewed as a 'summation-quality' of what was possible in a particular moment. A 'summation-quality' event resultant that re asserts its power of definition through a kind of osmosis induction that re-centers isolated experience ( and focus) into the 'ways of a family experience'. The question of depth-perception interpretations becomes relevant in attempting to understand this phenomenon, because the parameters of Jola identity modeling seems to be implying that a 'certain distance' is necessary if one hopes to understand the genesis 'qualities' that allow for conceptual/emotional and spiritual 'closure to exist' ( to arrive at that point we in the west would call 'an idea'). MUSIC AS AN IMAGE-LOGIC The Jola men's initiation ritual re enacted at Casamance can be looked at as an opportunity to observe the formal tendencies and qualities that permeate trans-Senegalian interaction dynamics- this is true whether one chooses to focus on social or abstract formal qualities. In seeking to understand this phenomenon my attention was directed to: 1) the use of circle structures 2) the use of line forming structures 3) the use of multiple event-state structures 4) the use of parade strategies and 5) the use of routing strategies and ritual symbolic connections. In the first example of this form-state, the use of circle formations can be sited at every part of the ritual initiation re enactment at Casamance. Circle formations in these examples are structural enclosure environment platforms that synergistically 'directs the energy-force' of a given event-action into the greater area-space of the composite circle. In this way, everyone and every group is both alone to him/herself and with the group at the same time. There are two aspects of circle summation events that have direct relevance for Jola structural identity ( and the meat-reality implications...
